AS THE 3-BASIC HARMONIC CHORD RELATIONS ARE 1) RELATIVE CHORDS 2) SUCCESSIVE RESOLUTIONAL CHORDS 3) COMPLEMENTARY CHORDS, (see post 30)
THEN 3-BASIC ALSO TYPES OF CHORD PROGRESSIONS ARE
1) RELATIVES CHORD PROGRESSIONS (usually good for melodies of chromatic or diatonic density or speed see post 68)
2) SUCCESSIVE RESOLUTIONS CHORD PROGRESSIONS (usually good for melodies of diatonic or low harmonic density or speed , see post 68)
3) COMPLEMENTARY CHORDS PROGRESSION (usually good for melodies of low or high harmonic density or speed , see post 68)
IN A SONG A PROGRESSION MUST NOT BE CONSIDERED STATIC. IT IS RECOGNIZED BY THE FACT THE IT REPEATS. BUT EACH TIME IT REPEATS IT MAY ALSO VARY SLIGHTLY, MAINLY BY SUBSTITUTING ONE OF ITS ELEMENT CHORD WITH ANOTHER CHORD IN THE OTHER TWO RELATIONS THAT THE PROGRESSIONS IS NOT MAINLY MADE OF (E.g. A PROGRESSION OF SUCCESSIVE RESOLUTIONS AS IT REPEATS MAY VARY SO THAT AN ELEMENT OF IT, IS SUBSTITUTED WITH A RELATIVE CHORD OF THE ELEMENTS SEE E.G. A11 BELOW)
If the chord progressions is only of two chords then we are talking mainly of the basic method of composing monotone meditating music as in post 74.
In The next folk chord progressions although the tetra-chords of the roots of the chords (e.g. 1-2-2, 2-2-3 etc) exist in various scales like diatonic, harmonic minor, pentatonic etc, the chords are not the exact chords and do not fit in a single such 7-notes scale.
Nevertheless in an extrapolation of the diatonic scale 2-2-1-2-2-2-1 and of the Harmonic minor scale (2-2-1-3-1-2-1) to an 8-notes scale made by
2-2-1-2-1-1-2-1 (C D E F G G# A B C) (it is self-inverse) which resembles the known Spanish-Jewish 8-notes scales but it is different , the chord progression of the Andaluzian Cadenza fits exactly. Similarly there may exist alternative 9-notes, 8-notes and 7-notes scales (see the 35 alternative 7-notes scales in post 52) that the chord progression below may belong.
In the symbols below a Latin numeral is for the order of the step in the major diatonic scale. It is capital if it is a major chord and small if it is minor or diminished chord.
A0) THE DIATONIC PROGRESSION
THE CHORD PROGRESSIONS ARE BEST UNDERSTOOD AND COMPOSED WHEN ANALYZED IN TRIPLETS OF CHORDS (HARMONIC, MELODIC, CHROMATIC AND MIXED TYPES OF TRIPLETS.
The diatonic progressions is the sequence (iii->vi->ii->V->I->IV->VII->iii), This progression leadsfrom sadness to joy, from the triad of minor chords to the triad of major chords.
In the symbolism of the 24-cycle of chords the diatonic scale is the arc of the next chords (x-2, X-1,x-1,X,x,X+1,x+1)=(vii,V,iii,I,vi,IV,ii). (see post 34)
Other symbolism of the 7 chords of the diatonic scale major=M, minor=m and diminshed=d with the steps 1,2,3,4,5,6,7 is the
1M 2m 3m 4M 5M 6m 7d 1'M
There is also the inverse or descending diatonic progression which is the (I->V->ii->vi->iii->VII->IV->I)
In a diatonic scale, the triad of minor chords (sad triad) is the (iii->vi->ii) where the (iii, vi) and (vi,ii) are consecutive in the cycle of pure 4ths, with standard resolutions (iii7-> vi) , (vi7->ii) and the
(ii, iii) are complementary chords, in other words all of their notes give all the notes of the scale except one.
The triad of joy or triad of major chords is the (V, I, IV) , where the (V, I) and (I,IV) are consecutive in the cycle of pure 4ths, with standard resolutions (V7-> I) , (I7->IV) and the (IV, V) are complementary chords, in other words all of their notes give all the notes of the scale except one.
The bridge between these two triads is the well known jazz progression (ii7, V7, I) , where again the (ii, V) and (V,I) are consecutive in the cycle of pure 4ths, with standard resolutions (ii7-> V) , (V7->I), and the (ii, I) are complementary chords, in other words all of their notes give all the notes of the scale except one.
Alternative closures
The diatonic progression closes also to a cycle by utilizing the triad progressions
(IV->IV#7->VII7->iii) or (IV7->VIIb->vi).
Based on this perception, the 7 modes of the diatonic scale have the following chord triads:
(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.
1. IONIAN : CHROMATIC TRIPLET (7d, 1M, 2m)
2. DORIAN : CHROMATIC TRIPLET (1M, 2m, 3m )
3. PHRYGIAN : CHROMATIC TRIPLET(2m,3m, 4M)
4. LYDIAN: CHROMATIC TRIPLET(3m, 4M, 5M)
5. MIXOLYDIAN: CHROMATIC TRIPLET (4M, 5M, 6m)
6. AEOLIAN: CHROMATIC TRIPLET (5M, 6m, 7d)
7. LOCRIAN: CHROMATIC TRIPLET (6m, 7d, 1M)
We may compare the basic chromatic triplets with the basic harmonic triplets (see also post 222)
1. IONIAN : HARMONIC TRIPLET (1M, 4M, 5M)
2. DORIAN : HARMONIC TRIPLET (2m, 5M, 6m)
3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d)
4. LYDIAN: HARMONIC TRIPLET (4M, 7d,1M)
5. MIXOLYDIAN: HARMONIC TRIPLET (5M, 1M,2m)
6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m)
7. LOCRIAN: HARMONIC TRIPLET (7d, 3m, 4M)
Besides these 2 types of basic triplets we have also a 3rd type X1 X2 X3 , where X1-X2 is a chromatic relation and the X2-X3 is an harmonic relation or vice versa. We may call them the mixed
basic chromatic-harmonic triplets. E.g. the basic triplet that is used sometimes in blues 1M 2m, 5M , is such as 1M-2m have chromatic relation while 1M-5M harmonic relation.
To convert a basic harmonic triplet to another chromatic or mixed basi triplet we utilize correspondences where we correspond each of the 3 main major chords of the diatonic scale with their lower minor relative and the 5M7 with the 7d. Therefore
2m<->4M
3m<->5M
6m<->1M
7d<-> 5M7
The same arguments may apply for the chromatic tonality (SEE POST 36 , 263 ABOUT CHROMATIC TONALITY ) where some of the mnor chords become major and some of the major chords minor. E.g. We have the harmonic triplet (3M7, 6m ,2m ) of the frygian mode and the harmonic triplet (7M7-3M7-6m) of the Locrian mode which are combined with the more standard harmonic triplets of the diatonic tonality of the dorian mode (2m-5M7-1M) or the myxolydian mode (5M7-1M7-4M) .
A 0.5) HARMONIC MINOR COMPLEX (or HARMONIC PERSONALITY ) OF CHORDS.
E.g. in the D harmonic minor scale, the 3-notes chords are the
Dm, Gm, A, Bb, Edim, C#dim and also some of the 4-notes chords are the
G6, Bbmaj7, Edim7=C#dim7, Faug, Aaug etc
Or with number on the relative major F major the symbols
6m, 2m, 3M , 4M, 7m, etc
the usual resolutions are
A->Dm, or Edim7->Dm, or Aaug->Dm, or Bbmaj7->Dm.
Gm or G6 ->Dm or Gm->A-Dm.
Or
3M->6m, 7dim7->6m, 3aug->6m, 4maj7->6m, 2m, or 2/6th->6m, 2m->3M7->6m.
or the main harmonic minor 6-CHORDS complex of resolution
Edim7_>Bbmaj7->Gm->A->Aaug->Dm
or 7dim7->4maj7->2m->3M->3aug->6m
As perturbation of the diatonic harmonic personality an harmonic minor personality would be
1M, 2m , 3M, 4M, 5M, 6m, 7dim
A 0.6) HARMONIC double MINOR COMPLEX OF CHORDS.
e.g. D harmonic double minor=D E F G# A Bb C#
This scale has at least the next chords
Dm Dbm Db Ddim Dbaug Aaug A Amaj7 Bbmaj7 Bb7 Bbmin Bb6 Bbm7
and has the next chord progression resolution sequence
Bbmaj7-> Bb7-> Bbm7-> Amaj7-> Aaug-> Dbm-> Dm
or
4maj7->4/7nth->4m7->3maj7->3aug->6bm->6m
As perturbation of the diatonic harmonic personality an double harmonic minor personality would be
1M, 2m , 3M, 4M, 5M, 6m, 7M
3M7-6m-2m (harmonic minor)
7M7-3m-6m (Neapolitian)
6M7-2m-5m (harmonic minor)
2M7-5m-1m
5M7-1m-4m
A1) (MAJOR) ANDALUSIAN CADENZA (CHORD PROGRESSIONS ON THE TETRA-CHORD 1-2-2 OR WITHIN HARMONIC MINOR OR PROGRESSION OF COMPLEMENTARY AND COMPLEMENTARY-RESOLUTIONAL , IN FLAMENCO MUSIC)
This progression being the inversion of standard resolution e.g. E7->Am (then Am->G->F->E7 or 6m->5M->4M->3M and then back 3M->4M->5M->1'M) is harmonically a cycle giving the impressions that is a continuous cadenza like the next geometric scheme!
E.g. Descending Dm->C->Bb->A7 ( 6m->5M->4M->3M)
In general we may have other chromatic inversions of every of the 7 resolutions of chords in the diatonic scale.
E.g. the resolution 5M7->1M has chromatic inversion 1M->2m->3m->4M->5M or 1M->7d->6m->5M.
As we said strictly speaking the Andalusian Cadenza is not a a progression of chords of a single diatonic scale. But if we change the last chord from major to minor,
e.g. Am->G->F->Em (instead of Am->G->F->E) then it is obviously the progression
vi->V->IV->iii .
THE IONIAN MODULATION OFTEH ANDALUZIAN CADENZA
THEN 3-BASIC ALSO TYPES OF CHORD PROGRESSIONS ARE
1) RELATIVES CHORD PROGRESSIONS (usually good for melodies of chromatic or diatonic density or speed see post 68)
2) SUCCESSIVE RESOLUTIONS CHORD PROGRESSIONS (usually good for melodies of diatonic or low harmonic density or speed , see post 68)
3) COMPLEMENTARY CHORDS PROGRESSION (usually good for melodies of low or high harmonic density or speed , see post 68)
IN A SONG A PROGRESSION MUST NOT BE CONSIDERED STATIC. IT IS RECOGNIZED BY THE FACT THE IT REPEATS. BUT EACH TIME IT REPEATS IT MAY ALSO VARY SLIGHTLY, MAINLY BY SUBSTITUTING ONE OF ITS ELEMENT CHORD WITH ANOTHER CHORD IN THE OTHER TWO RELATIONS THAT THE PROGRESSIONS IS NOT MAINLY MADE OF (E.g. A PROGRESSION OF SUCCESSIVE RESOLUTIONS AS IT REPEATS MAY VARY SO THAT AN ELEMENT OF IT, IS SUBSTITUTED WITH A RELATIVE CHORD OF THE ELEMENTS SEE E.G. A11 BELOW)
If the chord progressions is only of two chords then we are talking mainly of the basic method of composing monotone meditating music as in post 74.
In The next folk chord progressions although the tetra-chords of the roots of the chords (e.g. 1-2-2, 2-2-3 etc) exist in various scales like diatonic, harmonic minor, pentatonic etc, the chords are not the exact chords and do not fit in a single such 7-notes scale.
Nevertheless in an extrapolation of the diatonic scale 2-2-1-2-2-2-1 and of the Harmonic minor scale (2-2-1-3-1-2-1) to an 8-notes scale made by
2-2-1-2-1-1-2-1 (C D E F G G# A B C) (it is self-inverse) which resembles the known Spanish-Jewish 8-notes scales but it is different , the chord progression of the Andaluzian Cadenza fits exactly. Similarly there may exist alternative 9-notes, 8-notes and 7-notes scales (see the 35 alternative 7-notes scales in post 52) that the chord progression below may belong.
In the symbols below a Latin numeral is for the order of the step in the major diatonic scale. It is capital if it is a major chord and small if it is minor or diminished chord.
A0) THE DIATONIC PROGRESSION
THE CHORD PROGRESSIONS ARE BEST UNDERSTOOD AND COMPOSED WHEN ANALYZED IN TRIPLETS OF CHORDS (HARMONIC, MELODIC, CHROMATIC AND MIXED TYPES OF TRIPLETS.
The diatonic progressions is the sequence (iii->vi->ii->V->I->IV->VII->iii), This progression leadsfrom sadness to joy, from the triad of minor chords to the triad of major chords.
In the symbolism of the 24-cycle of chords the diatonic scale is the arc of the next chords (x-2, X-1,x-1,X,x,X+1,x+1)=(vii,V,iii,I,vi,IV,ii). (see post 34)
Other symbolism of the 7 chords of the diatonic scale major=M, minor=m and diminshed=d with the steps 1,2,3,4,5,6,7 is the
1M 2m 3m 4M 5M 6m 7d 1'M
There is also the inverse or descending diatonic progression which is the (I->V->ii->vi->iii->VII->IV->I)
(ii, iii) are complementary chords, in other words all of their notes give all the notes of the scale except one.
The triad of joy or triad of major chords is the (V, I, IV) , where the (V, I) and (I,IV) are consecutive in the cycle of pure 4ths, with standard resolutions (V7-> I) , (I7->IV) and the (IV, V) are complementary chords, in other words all of their notes give all the notes of the scale except one.
The bridge between these two triads is the well known jazz progression (ii7, V7, I) , where again the (ii, V) and (V,I) are consecutive in the cycle of pure 4ths, with standard resolutions (ii7-> V) , (V7->I), and the (ii, I) are complementary chords, in other words all of their notes give all the notes of the scale except one.
Alternative closures
The diatonic progression closes also to a cycle by utilizing the triad progressions
(IV->IV#7->VII7->iii) or (IV7->VIIb->vi).
Based on this perception, the 7 modes of the diatonic scale have the following chord triads:
(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.
1. IONIAN : CHROMATIC TRIPLET (7d, 1M, 2m)
2. DORIAN : CHROMATIC TRIPLET (1M, 2m, 3m )
3. PHRYGIAN : CHROMATIC TRIPLET(2m,3m, 4M)
4. LYDIAN: CHROMATIC TRIPLET(3m, 4M, 5M)
5. MIXOLYDIAN: CHROMATIC TRIPLET (4M, 5M, 6m)
6. AEOLIAN: CHROMATIC TRIPLET (5M, 6m, 7d)
7. LOCRIAN: CHROMATIC TRIPLET (6m, 7d, 1M)
We may compare the basic chromatic triplets with the basic harmonic triplets (see also post 222)
1. IONIAN : HARMONIC TRIPLET (1M, 4M, 5M)
2. DORIAN : HARMONIC TRIPLET (2m, 5M, 6m)
3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d)
4. LYDIAN: HARMONIC TRIPLET (4M, 7d,1M)
5. MIXOLYDIAN: HARMONIC TRIPLET (5M, 1M,2m)
6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m)
7. LOCRIAN: HARMONIC TRIPLET (7d, 3m, 4M)
Besides these 2 types of basic triplets we have also a 3rd type X1 X2 X3 , where X1-X2 is a chromatic relation and the X2-X3 is an harmonic relation or vice versa. We may call them the mixed
basic chromatic-harmonic triplets. E.g. the basic triplet that is used sometimes in blues 1M 2m, 5M , is such as 1M-2m have chromatic relation while 1M-5M harmonic relation.
To convert a basic harmonic triplet to another chromatic or mixed basi triplet we utilize correspondences where we correspond each of the 3 main major chords of the diatonic scale with their lower minor relative and the 5M7 with the 7d. Therefore
2m<->4M
3m<->5M
6m<->1M
7d<-> 5M7
The same arguments may apply for the chromatic tonality (SEE POST 36 , 263 ABOUT CHROMATIC TONALITY ) where some of the mnor chords become major and some of the major chords minor. E.g. We have the harmonic triplet (3M7, 6m ,2m ) of the frygian mode and the harmonic triplet (7M7-3M7-6m) of the Locrian mode which are combined with the more standard harmonic triplets of the diatonic tonality of the dorian mode (2m-5M7-1M) or the myxolydian mode (5M7-1M7-4M) .
A 0.5) HARMONIC MINOR COMPLEX (or HARMONIC PERSONALITY ) OF CHORDS.
E.g. in the D harmonic minor scale, the 3-notes chords are the
Dm, Gm, A, Bb, Edim, C#dim and also some of the 4-notes chords are the
G6, Bbmaj7, Edim7=C#dim7, Faug, Aaug etc
Or with number on the relative major F major the symbols
6m, 2m, 3M , 4M, 7m, etc
the usual resolutions are
A->Dm, or Edim7->Dm, or Aaug->Dm, or Bbmaj7->Dm.
Gm or G6 ->Dm or Gm->A-Dm.
Or
3M->6m, 7dim7->6m, 3aug->6m, 4maj7->6m, 2m, or 2/6th->6m, 2m->3M7->6m.
or the main harmonic minor 6-CHORDS complex of resolution
Edim7_>Bbmaj7->Gm->A->Aaug->Dm
or 7dim7->4maj7->2m->3M->3aug->6m
As perturbation of the diatonic harmonic personality an harmonic minor personality would be
1M, 2m , 3M, 4M, 5M, 6m, 7dim
A 0.6) HARMONIC double MINOR COMPLEX OF CHORDS.
e.g. D harmonic double minor=D E F G# A Bb C#
This scale has at least the next chords
Dm Dbm Db Ddim Dbaug Aaug A Amaj7 Bbmaj7 Bb7 Bbmin Bb6 Bbm7
and has the next chord progression resolution sequence
Bbmaj7-> Bb7-> Bbm7-> Amaj7-> Aaug-> Dbm-> Dm
or
4maj7->4/7nth->4m7->3maj7->3aug->6bm->6m
As perturbation of the diatonic harmonic personality an double harmonic minor personality would be
1M, 2m , 3M, 4M, 5M, 6m, 7M
Triads of chromatic tonality that are often met and are based in one of the chromatic 7-notes scales the harmonic minor, the meapolitan and the double chromatic minor are the next
3M7-6m-2m (harmonic minor)
7M7-3m-6m (Neapolitian)
6M7-2m-5m (harmonic minor)
All the three above triads (double harmonic minor)
2M7-5m-1m
5M7-1m-4m
1M7-4m-7m
4M7-7m-3m
Chromatic shifts of them by an interval of 2nd are e.g. the next
7M7-3m-6m->
1M7-4m-7m
Or
1M7-4m-7m->
2M7-5m-1m
Or
6M7-2m-5m->
1M7-3m-6m
Etc
Cycles of 6 chords in harmonic relations are the next 7
1M7-4m-7m->
3M-6M-2M
2M7-5m-1m->
4M-7M-3M
3M7-6m-2m->
5M-1M-4M
4M7-7m-3m->
6M-2M-5M
5M7-1m-4m->
7M-3M-6M
6M7-2m-5m->
1M-4M-7M
7M7-3m-6m->
2M-5M-1M
A1) (MAJOR) ANDALUSIAN CADENZA (CHORD PROGRESSIONS ON THE TETRA-CHORD 1-2-2 OR WITHIN HARMONIC MINOR OR PROGRESSION OF COMPLEMENTARY AND COMPLEMENTARY-RESOLUTIONAL , IN FLAMENCO MUSIC)
This progression being the inversion of standard resolution e.g. E7->Am (then Am->G->F->E7 or 6m->5M->4M->3M and then back 3M->4M->5M->1'M) is harmonically a cycle giving the impressions that is a continuous cadenza like the next geometric scheme!
We examine the Andalusian 4 Cadenza in Flamenco guitar , which is based on the descending progression on the diatonic tetra-chord 1-2-2 (See post 25 page 40 of the manuscript about Ancient Greek syntono tetrachord and also post 159 about tetrads in melody) of the roots of the chords . Chord type (minor-major-major-major) and its inversion as ascending form (major (or minor)-major-major-major). This progression is also met in the ethnic music of many other countries e.g. folk Greek music , music by by M. Theodorakis etc). The Andalusian cadenza is a sequence of chords that cover melodies of the harmonic minor scale. We say cover and not chords belonging to Harmonic minor, because striv=ty speaking if it was only in harmonic minor it would be e.g. instead of Dm->C->Bb->A, it would be Dm->Edim->Bb->A. But if combined D harmonic minor with D natural minor it can give the cords Dm->C->Bb->A.
E.g. Descending Dm->C->Bb->A7 ( 6m->5M->4M->3M)
We notice that the previous Andalusian Cadenza progression inverts chromatically (that is by steps of intervas of 2nd) the resolution A7->Dm (3M7->6m) , by counting the even or odd number of chords. We also notice that from the point of view of harmonic relations , the Andalusian cadenza is two successive complementary chords a tone distance apart (e.g. Dm and C , and C and Bb) and then a complementary-resolutional chords relation by one semitone distance.
In general we may have other chromatic inversions of every of the 7 resolutions of chords in the diatonic scale.
E.g. the resolution 5M7->1M has chromatic inversion 1M->2m->3m->4M->5M or 1M->7d->6m->5M.
As we said strictly speaking the Andalusian Cadenza is not a a progression of chords of a single diatonic scale. But if we change the last chord from major to minor,
e.g. Am->G->F->Em (instead of Am->G->F->E) then it is obviously the progression
vi->V->IV->iii .
THE IONIAN MODULATION OFTEH ANDALUZIAN CADENZA
If the andaluzian cadenza inverses the 3M7->6m, then its Ionian modulation inverses the
5M7->1M, thus it is 1M->7dim7->6m->5M7.
THE INVERSE ANDALUSIAN CADENZA IS AS WE MENTION THE
3M7->4M->5M7->1M which is a kind of resulution to it.
Alternative resolutions of the Andaluzian cadenza is the
6M7->4M->5M7->1M
(which is relative version o th arc in the whell by 4ths )
6M7->2m->5M7->1M
BUT THE INVERSE OFTHE INVERSE MAY NOT BE THE ORIGINAL ANDALUSIAN CADENZA BUT AN ALTERNATIVE FORM OF IT AS IN THE NEXT
7bM->6m->5m->4M
And with the invesre of the andaluzian or anadluzian ascenza 3M->4M->5M->1M
it make a cycle 7bM->6m->5m->4M->3M->4M->5M->1M
similar to the original cycle
6m->5M->4M->3M->3M->4M->5M->1M
TRANSLATED ANDALUSIAN CADENZA
Here instead of 6m->5M->4M->3M , which is with roots on a 2-2-1 4-notes chromatic subscale of the diatonic we use the 2nd 4-notes chromatic subscale 2-2-1 in the diatonic scale which is translated by a 4th lower and it gives
3M->2m->1M->7M which is also a perturbation of the diatonic scale of chords because of turning the natural minor to a double harmonic minor
E. g. for the C major scale instead of Am->G->F->E, the
E->Dm-> C->B.
DIMINISHED ANDALUZIAN CADENZA
(This also comes from the harmonic minor personality of chords)
Instead e.g. of the classical Andaluzian cadenza 6m->5M->4M->3M the
6m->5#dim->4M->3M e.g. instead of Em-> DM->CM->BM the
Em-> D#dim->CM->BM
INTEGRATED ANDALUSIAN CADENZA
This extended chord progression also covers melodies and two-voices melodies of the harmonic minor scale.
If the Andalusian Cadenza is e.g. the Dm->C->Bb->A, the integrated Analusian cadenza is the chord progression
Gm->A->(Dm->C->Bb->A)
or if the Andalusian cadenza is the Em->D->C->B7 then the integrated is the
Am->B7->(Em->D->C->B7)
or if it the Am->G->F->E7, then the integrated is the
Dm->E7->(Am->G->F->E7) etc
INVERTED ANDALUSIAN CADENZA (ASCENZA)
Here the order of the chords are inverted and we end not with he initial minor but its lower relative minor.
E.g. Dm->C->Bb-A is the normal form the inverted is
A->Bb->C->F
If we conceive the Andalusian cadenza as if an a diatonic scale an we use the symbols
6m->5M->4M->3M , the inverted is 3M->4M->5M->1M
As inverted we may have also the next (as the 3rd chord minor in a diatonic scale)
3m->4M->5M-1M
Similarly inside the diatonic scale we could find a similar cadenza to the Andaluzian, that could be called MINOR DIATONIC
and it is the 3m->2m->1M->7dim->1M
or
4M->3m->2m->1M
2nd REPLIED or DOUBLE HARMONIC MINOR ANDALUZIAN CADENZA
This idea is that after the standard Andaluzian Cadenza 6m->5M->4M->3M we reply with the
2m->1M->7M->1M (or 3m)
1st REPLIED or HARMONIC MINOR ANDALUZIAN CADENZA
This idea is that after the standard Andaluzian Cadenza 6m->5M->4M->3M we reply with the
2m->1M->7dim->1M (or 3m)
PERMUTED ANDALUSIAN CADENZA
1) This is a permutation of the Andalusian cadenza. E.g. Instead of
Em-->D-->C-->B, we play a permutation Em-->C-->D7-->B7
also instead of Am-->G-->F--M we play Am-->F-->G7-->M7
Or instead of Dm-->C--->Bb---A we play Dm-->Bb-->C7-->A7
2) Other common permutation is the next:
instead of Dm-->C--->Bb---A we play Dm-->A->Bb-->C, that is we start with the minor chord of the Cadenza but then we proceed with the reverse order of the major chords!
Similarly instead of Am-->G-->F--M we play Am-->M->F->G
and Instead of Em-->D-->C-->B, we play a permutation Em-->B-->C-->D
One may define also the MINOR ANDALUSIAN CADENZA , e.g. instead of
Dm-->C-->Bb-->A, the Dm-->C-->Gm7(=Bb6)-->A. OR Dm-->F-->Gm6-->A.
Or Bb->F->Gm->A7 (->Dm).
Similarly instead of Am-->G-->F-->E, the Am-->G(or C)-->Dm6-->E. Or
F->C->Dm->E7
And instead of Em-->D-->C-->B7, the Em-->D(or G)-->Am6-->B7.
This minor Andaluzian cadenza is used much in the Greek islands folk songs.
Some times this 1st minor Andalusian cadenza is a bit different .
That is as in the last example instead of Em-->D(or G)-->Am6-->B7. the
C->G->Am->B7
2ND MINOR ANDALUSIAN CADENZA
instead of
Dm-->C-->Bb-->A, the Dm-->C-->F-->Am.
in other words after the second chord we proceed with the relative and relative major and then resolving to the minor.
or instead of Em ->D->C->B7 the Em->D->F#7->Bm
or instead of Am->G->F->E7 the Am->G->B7->Em
PERMUTED ANDALUSIAN CADENZA
1) This is a permutation of the Andalusian cadenza. E.g. Instead of
Em-->D-->C-->B, we play a permutation Em-->C-->D7-->B7
also instead of Am-->G-->F--M we play Am-->F-->G7-->M7
Or instead of Dm-->C--->Bb---A we play Dm-->Bb-->C7-->A7
2) Other common permutation is the next:
instead of Dm-->C--->Bb---A we play Dm-->A->Bb-->C, that is we start with the minor chord of the Cadenza but then we proceed with the reverse order of the major chords!
Similarly instead of Am-->G-->F--M we play Am-->M->F->G
and Instead of Em-->D-->C-->B, we play a permutation Em-->B-->C-->D
One may define also the MINOR ANDALUSIAN CADENZA , e.g. instead of
Dm-->C-->Bb-->A, the Dm-->C-->Gm7(=Bb6)-->A. OR Dm-->F-->Gm6-->A.
Or Bb->F->Gm->A7 (->Dm).
Similarly instead of Am-->G-->F-->E, the Am-->G(or C)-->Dm6-->E. Or
F->C->Dm->E7
And instead of Em-->D-->C-->B7, the Em-->D(or G)-->Am6-->B7.
This minor Andaluzian cadenza is used much in the Greek islands folk songs.
Some times this 1st minor Andalusian cadenza is a bit different .
That is as in the last example instead of Em-->D(or G)-->Am6-->B7. the
C->G->Am->B7
2ND MINOR ANDALUSIAN CADENZA
instead of
Dm-->C-->Bb-->A, the Dm-->C-->F-->Am.
in other words after the second chord we proceed with the relative and relative major and then resolving to the minor.
or instead of Em ->D->C->B7 the Em->D->F#7->Bm
or instead of Am->G->F->E7 the Am->G->B7->Em
3RD FULL MINORS ANDALUZIAN CADENZA
Instead of the 6m->5M->4M->3M the
7d->6m->2m->3M
This form of the andaluzian cadenza utilizes all minors and dimisnished chords of the diatonoc scale
7d, 6m, 3m, 2m except the 3m is the final 3M passing to the harmonic minor rather than the natural minor.
It resolves and is inverted to an ascenza either as 3M->5M7->1M or
6M7->2m->5M7->1M
DOUBLE HARMONIC MINOR ANDALUZIAN CADENZA
The single harmonic minor has chords
1M 2m 3M 4M 5M 6m 7d 1M
Which gives rise to the harmonic minor Andalusian cadenza as chromatic cadenza
6m->5M->4M->3M7
the double harmonic minor has chords
1M 2m 3M7 4M 5M 6m 7M7
Which gives rise to the Double Harmonic minor Andalusian cadenza as chromatic cadenza
3M7->2m->1M->7M7
DIATONIC MINOR (ANDALUSIAN) CADENZA
There are two types of diatonic (Andalusian) cadenzas
The first type: This variation of the Andalusian cadenza is a type of minor and utilizes only chors from the diatonic scale. Thus instead of
Am->G->F->E the Am->G->F(or Dm) ->Em. In other words minor->major->major->minor.
Notice that we do descend with the sub-scale of the diatonic A->G->-F->E, and we use these notes as the roots of the standard chords of the diatonic scale
and the sequence of the intervals of the roots in semitone is
2-2-1 as in the Andalusian Cadenza
The second type of diatonic major Andaluzian cadenza is best shown in the next example
instead of Em->D->C->B7 the Em->Dm->C (orAm)->Bm .In other words
minor->minor->major->minor and the sequence of the intervals of the roots in semitone is
2-2-1 as in the Andalusian Cadenza
THE COMPLETELY MAJORS ANDALUSIAN CADENZA
e.g. instead of Am->G->F->E7 , the C->G->F->E7.
DIATONIC MAJOR (ANDALUSIAN) CADENZA
The 1st type of major diatonic cadenza is again that we do descend with the sub-scale of the diatonic C->B->-A->G, and we use these notes as the roots of the standard chords of the diatonic scale C->Bm->Am->G , that is major-minor-minor major.
or F->Em->Dm->C
and the sequence of the intervals of the roots in semitone is
1-2-2 inverse of the the Andalusian Cadenza
By interchanging the standard Andalusian cadenza with the diatonic minor forms of it we may create beautiful songs
DOUBLE FORM OF ANDALUSIAN CADENZA ,
descending (Am-Dm)->(G-C)->(F-Bb)->(E7-A7)
or e.g. (Em-Am)->(D-G)->(C-F)->(B7-E7)
MINOR VARIATION OF DOUBLE ANDALUSIAN CADENZA
e.g. (E7-Am)->(D-G)->(Am-F)->(B7-E7)
such forms of Andalusian cadenza are also the small subcycles of the wheel of 4ths (see end of this post)
The remarkable symmetry of this progression is that any two successive chords except one are in the cycle of 4ths (dominant resolutions) and it also reverses the dominant resolution
A7->Dm .
Other minor 2nd variations are e.g.
(Em->Am)->(D-G)->(C->Am)->(B->Em)
or minor 3rd variations are e.g.
(Em->Am)->(D-G)->(C->F)->(B->Em)
or minor 4th variations are e.g.
(Em->Am)->(D-G)->(C->Am)->(B->E)
THE GENERAL PATTERN HERE IS A CHROMATIC CADENZA in semitones 2->2->1
and we paralel chords rooted on such notes X1->X2->X3->X4 with chords
Y1->Y2->Y3->Y4, such that the relation of Xi with Yi is either in a relation of being relative chords or a 4th apart (harmonic relation of chords)
Of course the less total number of different chords that we may use is better and it sounds more familiar if such chords belong to an harmonic personality (diatonic or harmonic minor or double harmonic minor etc).We may use either minor or major chords.
Notice also that in the double Andalusian cadenza,the way the this arc of the wheel by 4ths closes, is by shifting the last resolution (C-F), one semitone back to (B7-E7).
The closing of a chord progression by steps in the wheel of 4ths by utilizing a shift by semitone is quite common (6 chords)
E.g. Em->Am->Dm->G->(C->B7)->Em
or it may close a two chords being relative (5 chords)
E.g. Em->Am->Dm->G->C->Em
See General Rule A11 b) below for good chord progressions!
Also Ascending form 1-2-2 (major or minor-major -major-major)
A->Bb->C->D or Am->Bb->C->D or A->Bbm->C->D
and in its double form
(E-A)->(F-Bb)->(G-C)->(A-D) or (Em-Am)->(F-Bb)->(G-C)->(A-D)
We may create variations to the Double Andalussian cadenza, by substituting any of the two major chords in any pair , (except the last) with a minor relative chord of the substituted major chord or of the other major chord in the pair. The last pair remains as it is. We try to avoid repetition of chords
E.g. the double Andalusian progression (Am Dm)->(G-C)->(F Bb)->(E A) may become
(Am F) ->(G Em)->(Dm Bb)->(E A)
or the double Andalusian progression (Bm Em )->(A D)->(G C)-> (F# B) may become
(Em C)->(D Bm)->(G Am)-> (F# B)
Andalussian Cadenza continuation I:
This is done by continuing the last major chord to its next major in the cycle of 4ths
E.g. Am->G->F->E and then -->A7--> Dm-->B7-->E so it returns again to te last chord of the Andalussian cadenza .
Another way to make a continuation of the Andalussian cadenza is the following which ends to the relative major C of the starting chord Am.
Am->G->F->E and then -->A7--> Dm7-->G7-->C
We may of course combine both, and play first the second continuation and then the first or vice versa.
Andalussian Cadenza continuation II:
This continuation utilizes the last chord of the Andalussian cadenza as the first chord of a second cadenza. Here it is
Am-->G-->F twice and then E-->Dm (or E7) --> C twice (notice that we descend the diatonic scale of C major on roots a, g, f, e, d, c ) and also it may still continue to C-->B7-->Em ( or Am) . The net result is to start from a minor Am and end in its upper relative major C or to a previous 4th in the cycle of 4th that is Em (or the samechord Am!) . These continuations work with 3 chords each instead of four, and have two major one minor.
The continuations I, II, may be combined as e.g. in the chord progression of the Andes song
A2) 7-CHORD STANDARD JAZZ PROGRESSION
This progression is met not only in Jazz, Gypsy Jazz, etc but also in Latin ethnic music of the Andes, and also in USA Country music!
Of course there are more, slightly different progressions with the same property like
(Am-Dm)->(G-C)->(F#-B)->(E7-A7) and
(Am-Dm)->(G#-C#)->(F#-B)->(E7-A7)
Nevertheless the latter are with roots of the chords on the tetra-chords 2-1-2 and 2-2-1
Slight variation of this double form of the Andalusian Cadenza is sometimes called the 7-chord standard Jazz progression, E.g.
Dm7->G7->Cmaj7->Fmaj7->Bdim7->E7->A7 or starting from Em7
Em7->A7->Dmaj7->Gmaj7->Cdim7 ->F#7->B7
.
This jazz 7-chords progression has again the remarkable symmetry that any two successive chords except one are in the cycle of 4ths (dominant resolutions) and again it inverts the resolution A7->Dm7, as it starts with Dm7 and ends with A7.
See General rule A11 b) below
A3) CHORD PROGRESSIONS ON THE SYNTONO TETRA-CHORD 2-2-1 (see post 25 page 40 of the manuscript or past 159 about tetrads)
Ascending 2-2-1 (major-minor-major-major)
E.g. A->Bm->C#->D and its double form
(E-A)->(F#m-Bm)->(G#-C#)->(A-D)
and descending form 2-2-1 (major-major -minor -major)
E.g. D->C#->Bm->A
and its double form
(A-D)->(G#-C#)->(F#m-Bm)->(E-A) and notice that inverses the resolutions E7->A and A7->D
If this progression is modified to ((major-major -minor -augmented) then it fits to the Harmonic minor scale, in other words
D->C#->Bm->Aaug
We may create chord progressions over the sub-scale with semitone distances 2-2-1, not only by the roots of t he chords but also by the middle notes of the chords E.g. the sub-scale e4, d4, c4, b3
is a descending form of 2-2-1, in other words 2-2-1, and the next chord progression has these notes as middle notes
C->Bm->Am->G. We may compare it with the Andaluzian cadenza which has these notes as roots
Em->D->C->B7 . And we ma even combine these two chord progressions in one
C->Bm->Am->G->Em->D->C->B7(Bm).
We may also create a chord progression which has these notes as dominant highest notes
Am->G->F->E, and then we may combine all of them to
Am->G->F->Em->C->Bm->Am->G->Em->D->C->Bm
A4) CHORD PROGRESSIONS ON THE TETRA-CHORD 3-2-2
We state also ascending progressions with roots of the chords on the pentatonic tetra-chord 3-2-2 (minor-major-minor-major) and also its double form.
E.g. Am->C->Dm->E
(Em-Am)->(G-C)->(Am-Dm)->(B-E)
The descending 3-2-2 (major-minor-major-minor)
E->Dm->C->Am and its double form (B-E)->(Am-Dm)->(G-C)->(Em-Am)
The descending and accelerating 3-2-2 (minor-major-major-major)
Em->D->C->A or Am->G->F->D or Dm->C->Bb->G etc
And the ascending pentatonic tetra-chord 3-2-2 (minor, major ,major or minor ,major)
E.g. in its double form
(Em-Am)->(G-C)->(A-D)-> (B-E)
which again reverses the resolution B7->Em or E7->Am by counting the even or odd number of chords. The symmetry of the Andaluzian Cadenza and 7-chords jazz progressions that any two successive chords , except one are in the cycle of 4ths does not hold here.
A5) CHORD PROGRESSIONS ON THE TETRA-CHORD 2-2-3
There is also the descending form 2-2-3 (major-minor-major-major)
and the ascending form of the pentatonic tetra-chord 2-2-3 (major-major-major or minor-major)
E.g. in double form (E-A)->(F#-B)->(G#m-C#m)->(B-E)
which again reverses the resolution B7->E or E7->A,by counting the even or odd number of chords. The symmetry of the Andaluzian Cadenza and 7-chords jazz progressions that any two successive chords , except one are in the cycle of 4ths does not hold here.
and the ascending 1-2-3 (minor-major-minor-major).
E.g. in double form (Em-Am)->(F-Bb)->(Gm-Cm)->(Bb-D#)
A6) CHORD PROGRESSIONS ON THE TETRA-CHORD 5-2-3
Descending 5-2-3 ( major-minor-major-major).
we compare with other ascending progressions e.g. based on the tetra-chord 2-2-2 (major-major-major (or minor)-major) and also it double form
E.g. (F-Bb)->(G-C)->(Am-Dm)->(B-E) or (F-Bb)->(G7-C)->(A7-D)->(B7-E)
Finally the ascension based on 1-3-1 (minor-major-major-minor) and its double form
E.g. (Em-Am)->(F-Bb)->(Gm-Cm)->(G#-C#)
Actually inside the harmonic minor scale the chord types could be any of the next
(major or augmented, --minor or diminished or major ,-- augmented or diminished, --minor)
All of the previous , are majorization methods, in other words rendering of progressions of minor chords to progressions of major chords and inversions of resolutions
Notice that from all the previous progressions only the descending on diatonic tetra-chord 1-2-2, or Andalusian Cadenza , descending 2-2-1, the 7-chord Jazz progression and the ascending on the pentatonic tetra-chords 3-2-2, and 2-2-3 progressions , inverse the standard dominant resolutions.
A7) CELTIC, IRISH MUSIC PROGRESSIONS
In Irish music is often used a chord progression that on the roots it is 3-7-7 or within an octave
3-2-3 and can be of any type od chord major or minor. E.g. Am-Cmaj7-G-D
see e.g. https://www.youtube.com/watch?v=FY1BYAyMeSk
and https://hspeek.home.xs4all.nl/dadgad/theory.html
Since accordingto the previous document the Irish music is palyed mosr often in D major and G major, the relevant chords will be D, Em, F#m or F#dim , G, A, Am, Bm, C#m or C#dim.
While being in D natural minor means it is in Fmajor so the chords would be
F, Gm, Am, Bb, C, Dm, Edim (often Em)
If on the other hand the ancient Irish music was mainly on the pentatonic scale
C, D, E, G, A (2-2-3-2-3) and its 5 modes
(See e.g. http://www.libraryireland.com/IrishMusic/IV.php )
then in modern 7-notes scales it would take the next chords only
C, Dm, Em, G, Am
and if played strictly in the pentatonic scale the best chords would be
C, D5, G5, Am
and if starting from D it would be
D, E, F# , Bb , C with chords D, E5, Bb5, Cm
or if starting from G
G, A, B, D , E with chords G, A5, D5, Em
A8) JAZZ STANDARD 3-CHORD PROGRESSION ii-V-I
e.g. Dm->G7->C
This progression is a key one! It is the passage or bridge from the triad of minor chords (sadness) of a diatonic scale (e.g. of C major it is Em, Am, Dm) to the triad of major chords (joy , happiness) of the diatonic scale (e.g. from the C major scale it is G, C, F). The passage is the triad sequence Dm7 G7 C.
(It is very close of course to the progression by 4ths D7, G7, C).
A9) FOLK SPANISH ,FLAMENCO ,PORTUGUESE, ITALIAN AND AFRICAN MUSIC PROGRESSIONS
Here we take to relative chords on minor one major e.g. Em, G and we put in front of them a major dominant 7th that resolves on them here e.g. (B7->Em)->(D7->G) or
(A7->Dm)->(C7->F) etc More generally (met also in folk Italian songs) we may take any 3 (or even 4 or more ) chords of the diatonic scale R1, R2, R3 and put in front of them a major dominant 7th that resolves on them e.g. R1=C, R2=Dm, R3=F and make the progression
(G7->C)->(A7->Dm)->(C7->F)
Each of the dominant resolutions (X7->Y) may be repeated many times before we go to the next pair.
See e.g. the traditional song Oili Oila https://www.youtube.com/watch?v=dWozo7ivybg
Or for example if we take 4 or more chords outside a single diatonic scale but in the cycle of 4ths
e.g. Em, Am, Dm, Gm and we apply the same rule we get the pogressions
(B7-> Em)->(E7-> Am)->(A7-> Dm)->(D7-> Gm)
In addition we may interpolate in the above sequence an Andalusian cadenza that invesres the resolution of the pair! (e.g. The B7-> Em is reversed by the Andalusian Cadenza Em-D-C-B7) The results is a magnificent and very beautiful psychologically harmony!
See e.g. the African song "Free" performed by Steve Wonder
https://www.youtube.com/watch?v=C5pX7oZ747w
1) Resolutions on a pair of relative chords. Resolutions to two relative chords one minor one major. E.g. Here the two relative chords are the G, and Em, and the resolutions are B7->Em, and D7->G, So in total the repeating progressions is (B7->Em) n times then -> (D7->G) n-times or
(B7->Em-> D7->G) n-times
or starting from a different chord E7->A->Db->F#m
1.1) Conversely we may have the Relative resolution-pairs (see also 4) below).
If we have a resolution-pair e.g. by minors Am->Dm, then the relative major resolution is the C->F, The we may set all these four chords in a cycle e.g.
Dm->Am->F->C->Dm. Or Em->Bm->G->D->Em
Augmented chord interpolation: Some times passing from a chord A to another chord B we may interpolate an augmented chord which is the previous in the wheel of 4ths to B but augmented. E.g. in going from to Em to G we may interpolate the Daug so in total Em->Daug->G or in going from F to Am we may interpolate the Eaug, so in total F->Eaug->Am,
2) Pair of complementary chords. Resolutions to two complementary chords one minor one major. E.g. Here the two complementary chords are the G, and Am, and the resolutions are D7->G, and E7->Am, so in total the repeating progressions is (E7->Am) n times then -> (D7->G) n-times or
(E7(Bdim7)->Am-> D7->G) n-times
Or staring from a different chord it could be e.g.
(B7->E-> Db7(Bdim7)->F#m) n-times
or E7->A->F#7->Bm
We may also combine 1) and 2) E.g. first complementary pair E7->A->F#7->Bm and then pair of relatives E7->A->Db->F#m, so in total we may chave the progression
E7->A->F#7->Bm->E7->A->Db->F#m->B7->E repeating as cycle of chords The latter can be conceived also as two pairs of complamentary chords the A-Bm and E-F#m so we may group its as follows
(E7->A->F#7(Gdim7)->Bm->E7->A)->(Db->F#m->B7->E) n-times
Or starting from G it would be
(G7->C->A7(Gdim7)->Dm->G7->C)->(E->Am->D7->G) n-times
We notice that the pairs of complementary chords C-Dm and G-Am are in successive resolutional relation, that is why the total progressions is so well fitting.
3) Pair of successive resolution chords. Resolutions to two successive resolution chords one minor one major. E.g. Here the two successive resolution chords are the E7, and Am, and the resolutions are B7->E, and E7->Am, so in total the repeating progressions is (B7->E) n times then -> (E7->Am) n-times or
(B7->E-> E7->Am) n-times
4) Pair of successive resolution chords substituted with relatives. Resolutions to two successive resolution chords . E.g. Here the two successive resolution chords are the G7, and C, and the substitutions are G7->Em, and C->Am, so in total the repeating progressions is (G7->Em) n times then -> (C->Am) n-times or
(G7->Em-> C->Am) n-times
ETC (more such examples and cases of repeating pairs of chords can be listed)
A10) MINOR OR MAJOR 3-CHORD CYCLE IN FOLK SONGS
This a progression of 3 minor or 3 major chords R1 R2 R3 so that each one resolves to the next in the cycle of 4ths e.g. Em->Am->Dm or G->C->F.
Obviously it is used minor chords in the cycle in the sad part ofthe song and major chords in the cycle in the happy part of the song. The transition sad-> happy we often call the process of majorization
The diatonic progressions is the sequence (iii->vi->ii->V->I->IV->VII->iii), This progression leadsfrom sadness to joy, from the triad of minor chords to the triad of major chords. In the symbolism of the 24-cycle of chords the diatonic scale is the arc of the next chords (x-2, X-1,x-1,X,x,X+1,x+1)=(vii,V,iii,I,vi,IV,ii). (see post 34)
In a diatonic scale, the triad of minor chords (sad triad) is the (iii->vi->ii) where the (iii, vi) and (vi,ii) are consecutive in the cycle of pure 4ths, with standard resolutions (iii7-> vi) , (vi7->ii) and the
(ii, iii) are complementary chords, in other words all of their notes give all the notes of the scale except one.
The triad of joy or triad of major chords is the (V, I, IV) , where the (V, I) and (I,IV) are consecutive in the cycle of pure 4ths, with standard resolutions (V7-> I) , (I7->IV) and the (IV, V) are complementary chords, in other words all of their notes give all the notes of the scale except one.
The bridge between these two triads is the well known jazz progression (ii7, V7, I) , where again the (ii, V) and (V,I) are consecutive in the cycle of pure 4ths, with standard resolutions (ii7-> V) , (V7->I), and the (ii, I) are complementary chords, in other words all of their notes give all the notes of the scale except one.
Alternative closures
The diatonic progression closes also to a cycle by utilizing the triad progressions
(IV->IV#7->VII7->iii) or (IV7->VIIb->vi).
HERE IS THE 24-CHORDS CYCLE IN THE REVERSE ORDER BY 5TH RATHER THAN BY 4TH WHICH IS THE ACTUAL
GENERAL RULE FOR GYPSY JAZZ CHORD PROGRESSIONS:
By substituting in the chord progressions of a nice ethnic song , some of the minor chords Xm with minor-6th , Xm6 (=dim+min) and some of the dominant major chords Y7 with major-6th chords Y6(=Zm7, for relative minor chord Zm) we get a standard Gypsy flavor (which is minor and diminished oriented flavor, in other words bitter-sweet or sad) . Then of course all the soloing parallel to the chords as it should contain the arpeggios of these chords with 6th would sound more minor and melodic, and often it will integrate to the harmonic minor and harmonic double minor scale (See post 50). If we utilize 4-double strings instruments (see post 67) , then all the shapes of the chords with 6th are those of the D6, A6, E6 , Dm6 ,Am6, Em6 only on the last 4 strings and the playing of Gypsy jazz is greatly simplified! Similarly soloing parallel to such chords is also easier, except that a separate bass player with a bass instrument would be required. So e.g. the jazz chord progression IIm-V-I will become IIm6-V6-I . This 3-chords progressions may be varied also to IIm-(V7)-Vb7-I7-I6) or it may be varied to
IIm-VIIb7-V7-I or IIm-VIIb7-VII7-I (or sliding from VIIb to I)
Other embellishments of this progressions are described in the next video
https://www.youtube.com/watch?v=jkXwzXieMho
E.g. B7->Em->Am->D7->G->Bm-> etc
Or B7->Em->Am->D7->G->C->(Am orA7)->D7 etc
E.g. The well known song of Frank Sinatra "Fly me to the moon" is using this technique in its sequence of chords
https://www.youtube.com/watch?v=U8zvLvfUzCQ
Another example is the song of Nat King Cole L.O.V.E.
(main arc is the (Em or E7)->A7->D7->G(or Bm or Gm7) ->E7 etc with backwards retraces by one chord)
https://www.youtube.com/watch?v=cZ4TfRt1NK0&list=PLCD6F28C13A0A9AC2&index=12
Slight enlargement to this is the Small 4 chords cycles of relatives mutation (by // we denote the relatives mutation)
Examples: A->D->G//Em or D->G->C//Am or G->C->F//Dm
2) Medium 6 chords cycles of chromatic mutation (by // we denote the chromatic mutation)
Examples: A->D->G//F#->Bm->E or A->D->G//F#->B7->Em
or A->D->G->C->F->Bb//A
D->G->C//B7-> Em->A7 or D->G->C//B7-> E->Am
G->C->F//E7->Am->D or G->C->F//E7->A->Dm
o
(Notice here that if we would restrict to a diatonic scale the cycle G->C->F//E7->Am->D or G->C->F//E7->A->Dm would be
G->C->F//Em7->Am->Dm .
This cycle can be extended to an 8-cycle in the following way:
The 6-cycle A->D->G->C->F->Bb//A can be extended to the 8-cycle
A->D->G->C->F->Bb->D#->Edim7->A
or the A->D->G//F#->Bm->E will become A->D->G->C->C#dim7->F#->Bm->E
With double chromatic mutation we have the progression 7-chords cycles
A->D->G//C#->F#->Bm->E or D7->G7->C7->F7->Bb//E7->A7, which also can be alternating in minor major: Dm7->G7->Cm->F7-<Bbm//E7->Am7 or D7->Gm7->C7->Fm7-<Bb//E7->Am7 etc.
See also the double Andaluzian cadenza above and the standard Jazz 7-chords progression
C->F->Bb//A7->Dm->G or C->F->Bb//A7->D->Gm
etc.
Notice that an alternating even only or odd only sequence of chords in such 7 chords cycles with double chromatic mutation gives the Andaluzian cadenza and Jazz 7-chords progression.
Example of beautiful chord progressions that one can obtain with the above 6 or 7 chords cycles are the next with the next rules
1) All chords are from the above 7-cycle cycle with chromatic mutation and are with 7th chords
2) Any two successive chords are either successive in the above cycle ( that is successive in the wheel of 4th too or are in chromatic 1 semitone relation) or are relative chords, or inverses in order in the above relations
3) All successive chords alternating are minor then major or major then minor.
4) There is a starting and ending pair of chords which is successive in the wheel of 4ths and are both major chords.
An example of a chord progression with the above rules is the next
C7 F7 Bbm A7 Dm7 D7 Gm7 C7 Am7 D7 Gm7 C7 Am7 Bbmaj7 A7 Dm7 D7 Gm7 C7 Am7 F7 Dm7 A7 Am7 D7 Gm7 C7 F7.
When playing such chord progressions we may move slowly all the way up and then all the way down in th fretboard.
3) Full 12 chords cycle: A->D->G->C->F->Bb->D#(=Eb)->G#(=Ab)->C#(=Db)->F#->B->E
where at most 1/3 that is at most 4 chords can be minor chords.
A12 . 2nd general rule for harmonic chord progressions: Two arcs in the 12-chord cycle by intervals of 4th (substituting any of the chords with its minor if it is major or vice versa) that have distance at the closest ends either 1 , or 2 or 3 or 4 or 6 semitones!
E.g. D7->G ,(1 semitone apart) Db7->Fm
or A7->D (1 semitone chromatic) G#7->Cm
or D7->G (1 semitone chromatic) C#7->F#m
or C7->F (1 semitone chromatic) B7->Em
or D7->G, (2 semitones apart) E7->Am
or E7->Am-> F#7->Bm (E7, F#7 2 semitones apart)
or D7->G , (3 semitones apart) B7-> Em
or F-> Bb -> A7-> Dm or F#7->B7-> E or D7->G->F#7->Bm
or F-> Bb-> E7-> A or G7->C-> F#7->B
or Am->D7->G, (1 semitone apart ) F#7->B7->Em
or Am Dm G7 C F (6 semitones apart) , B7 Em
or Dm Gm C F A# (6 semitones apart) E7 A7
or Em (E7) ->Am (A7)-> D7-> G-> C->(6 semitones apart) F#7-> B7
e.g. in the valse indifference
https://www.youtube.com/watch?v=pph5IOXWlHU
or G7 C F#7 B ( or Bm)
or F Bb E7 A (or Am)
or C F B7 E (or Em)
When playing such chord progressions we may move slowly all the way up and then all the way down in th fretboard.
A13 3rd general rule for harmonic chord progressions:
We may define the HARMONIC 2 OCTAVES , 7 NOTES SCALE of 7 notes that spans 2 octaves, and every 3 or 4 successive notes is a chord of the above types
Here it is (STARTING FROM THE C3)
etc -C3-E3-G3-B3-D4-F4-A4-C5- etc (all steps intervals of 3rds)
DIATONIC MINOR (ANDALUSIAN) CADENZA
There are two types of diatonic (Andalusian) cadenzas
The first type: This variation of the Andalusian cadenza is a type of minor and utilizes only chors from the diatonic scale. Thus instead of
Am->G->F->E the Am->G->F(or Dm) ->Em. In other words minor->major->major->minor.
Notice that we do descend with the sub-scale of the diatonic A->G->-F->E, and we use these notes as the roots of the standard chords of the diatonic scale
and the sequence of the intervals of the roots in semitone is
2-2-1 as in the Andalusian Cadenza
The second type of diatonic major Andaluzian cadenza is best shown in the next example
instead of Em->D->C->B7 the Em->Dm->C (orAm)->Bm .In other words
minor->minor->major->minor and the sequence of the intervals of the roots in semitone is
2-2-1 as in the Andalusian Cadenza
THE COMPLETELY MAJORS ANDALUSIAN CADENZA
This form of the Andalusian cadenza is made only from major chords. Since the Andalusian cadenza has only one minor at the first chord, the completely majors Andalusian cadenza is derived from the Andalusian Cadenza by changing the first minor chord to is upper major relative chord.
e.g. instead of Am->G->F->E7 , the C->G->F->E7.
instead of Em->D->C->B7 , the G->D->C->B7.
instead of Dm->C->Bb->A7 , the F->C->Bb->A7
etc
instead of Dm->C->Bb->A7 , the F->C->Bb->A7
etc
DIATONIC MAJOR (ANDALUSIAN) CADENZA
The 1st type of major diatonic cadenza is again that we do descend with the sub-scale of the diatonic C->B->-A->G, and we use these notes as the roots of the standard chords of the diatonic scale C->Bm->Am->G , that is major-minor-minor major.
or F->Em->Dm->C
and the sequence of the intervals of the roots in semitone is
1-2-2 inverse of the the Andalusian Cadenza
By interchanging the standard Andalusian cadenza with the diatonic minor forms of it we may create beautiful songs
DOUBLE FORM OF ANDALUSIAN CADENZA ,
descending (Am-Dm)->(G-C)->(F-Bb)->(E7-A7)
or e.g. (Em-Am)->(D-G)->(C-F)->(B7-E7)
MINOR VARIATION OF DOUBLE ANDALUSIAN CADENZA
e.g. (E7-Am)->(D-G)->(Am-F)->(B7-E7)
such forms of Andalusian cadenza are also the small subcycles of the wheel of 4ths (see end of this post)
The remarkable symmetry of this progression is that any two successive chords except one are in the cycle of 4ths (dominant resolutions) and it also reverses the dominant resolution
A7->Dm .
Other minor 2nd variations are e.g.
(Em->Am)->(D-G)->(C->Am)->(B->Em)
or minor 3rd variations are e.g.
(Em->Am)->(D-G)->(C->F)->(B->Em)
or minor 4th variations are e.g.
(Em->Am)->(D-G)->(C->Am)->(B->E)
THE GENERAL PATTERN HERE IS A CHROMATIC CADENZA in semitones 2->2->1
and we paralel chords rooted on such notes X1->X2->X3->X4 with chords
Y1->Y2->Y3->Y4, such that the relation of Xi with Yi is either in a relation of being relative chords or a 4th apart (harmonic relation of chords)
Of course the less total number of different chords that we may use is better and it sounds more familiar if such chords belong to an harmonic personality (diatonic or harmonic minor or double harmonic minor etc).We may use either minor or major chords.
Notice also that in the double Andalusian cadenza,the way the this arc of the wheel by 4ths closes, is by shifting the last resolution (C-F), one semitone back to (B7-E7).
The closing of a chord progression by steps in the wheel of 4ths by utilizing a shift by semitone is quite common (6 chords)
E.g. Em->Am->Dm->G->(C->B7)->Em
or it may close a two chords being relative (5 chords)
E.g. Em->Am->Dm->G->C->Em
See General Rule A11 b) below for good chord progressions!
Also Ascending form 1-2-2 (major or minor-major -major-major)
A->Bb->C->D or Am->Bb->C->D or A->Bbm->C->D
and in its double form
(E-A)->(F-Bb)->(G-C)->(A-D) or (Em-Am)->(F-Bb)->(G-C)->(A-D)
We may create variations to the Double Andalussian cadenza, by substituting any of the two major chords in any pair , (except the last) with a minor relative chord of the substituted major chord or of the other major chord in the pair. The last pair remains as it is. We try to avoid repetition of chords
E.g. the double Andalusian progression (Am Dm)->(G-C)->(F Bb)->(E A) may become
(Am F) ->(G Em)->(Dm Bb)->(E A)
or the double Andalusian progression (Bm Em )->(A D)->(G C)-> (F# B) may become
(Em C)->(D Bm)->(G Am)-> (F# B)
Andalussian Cadenza continuation I:
This is done by continuing the last major chord to its next major in the cycle of 4ths
E.g. Am->G->F->E and then -->A7--> Dm-->B7-->E so it returns again to te last chord of the Andalussian cadenza .
Another way to make a continuation of the Andalussian cadenza is the following which ends to the relative major C of the starting chord Am.
Am->G->F->E and then -->A7--> Dm7-->G7-->C
We may of course combine both, and play first the second continuation and then the first or vice versa.
Andalussian Cadenza continuation II:
This continuation utilizes the last chord of the Andalussian cadenza as the first chord of a second cadenza. Here it is
Am-->G-->F twice and then E-->Dm (or E7) --> C twice (notice that we descend the diatonic scale of C major on roots a, g, f, e, d, c ) and also it may still continue to C-->B7-->Em ( or Am) . The net result is to start from a minor Am and end in its upper relative major C or to a previous 4th in the cycle of 4th that is Em (or the samechord Am!) . These continuations work with 3 chords each instead of four, and have two major one minor.
The continuations I, II, may be combined as e.g. in the chord progression of the Andes song
La chacarera del cardenal |
LAm SOL FA MI
en tu monte vecino canto un cardenal
DO SOL DO LA7
y un mediodia de flechas lo quiso callar
REm LAm MI LAm
pero su sol queria volverlo a encontrar
Andalussian Cadenza continuation to three majors I
This is done by continuing the last major chord to its next two major in the cycle of 4ths as in the Andalussian Cadenza continuation I, but instead we proceed with major chords only. It can be considered also as changing the first minor chord of the Andalusian to a major and making it the middle in the triad of majors:
E.g. Am->G->F->E and then E7 -->A-->D
Andalussian Cadenza continuation to three majors II
This is done by continuing with three major chords in succession in the wheel of 4ths where the middle major chord is the second chord of the Andalussian Cadenza:
E.g. Am->G->F->E and then D7 -->G-->C
Andalussian Cadenza continuation to three majors III
This is done by changing the first minor chord of the Andalusian to a relative major so as also to utilize two already existing major chords in the Andalusian:
E.g. Am->G->F->E and then C -->G-->F
THE LONG ANDALUSIAN PROGRESSION MAJOR OR MINOR
This cadenza is based on the sequence descending note , in of semitones 2-2-2-1
and includes the Andalusian cadenza which a shorter sequence
2-2-1.
E,g, instead of the shorter Am->G->F->E the longer Bm->Am->G->F->E or
B7->Am->G->F->E. or instead of the Dm->C->Bb->A, the longer Em->Dm->C->Bb->A or
E7->Dm->C->Bb->A .
A1.1) ALTERNATIVE TO ANDALUSIAN CADENZAS
1) Such Cadenzas are not based on the 2-2-1 (see bout Ancient Greek syntono tetrachord post 25 page 40 of the manuscript or post 159 about tetrads) but on more general forms of deceleration
like (in semitones)
7->3->2
7->3->1
7->4->2
7->4->2
5->4->1
5->4->2
5->3->2
5->3->1
Usually the chords are major chords except one which is minor, and usually it is the 3rd one.
2) Or forms of acceleration and deceleration like the next
2-7-1
E.g. Dm->Cm->Gm->A7
or
Dm->C->Gm->A7
or
3-7-1
E.g. Dm->Am->Gm->A7
1-5-2
Dm->C#m->Fm->Em
etc
A2) 7-CHORD STANDARD JAZZ PROGRESSION
This progression is met not only in Jazz, Gypsy Jazz, etc but also in Latin ethnic music of the Andes, and also in USA Country music!
Of course there are more, slightly different progressions with the same property like
(Am-Dm)->(G-C)->(F#-B)->(E7-A7) and
(Am-Dm)->(G#-C#)->(F#-B)->(E7-A7)
Nevertheless the latter are with roots of the chords on the tetra-chords 2-1-2 and 2-2-1
Slight variation of this double form of the Andalusian Cadenza is sometimes called the 7-chord standard Jazz progression, E.g.
Dm7->G7->Cmaj7->Fmaj7->Bdim7->E7->A7 or starting from Em7
Em7->A7->Dmaj7->Gmaj7->Cdim7 ->F#7->B7
.
This jazz 7-chords progression has again the remarkable symmetry that any two successive chords except one are in the cycle of 4ths (dominant resolutions) and again it inverts the resolution A7->Dm7, as it starts with Dm7 and ends with A7.
See General rule A11 b) below
A3) CHORD PROGRESSIONS ON THE SYNTONO TETRA-CHORD 2-2-1 (see post 25 page 40 of the manuscript or past 159 about tetrads)
Ascending 2-2-1 (major-minor-major-major)
E.g. A->Bm->C#->D and its double form
(E-A)->(F#m-Bm)->(G#-C#)->(A-D)
and descending form 2-2-1 (major-major -minor -major)
E.g. D->C#->Bm->A
and its double form
(A-D)->(G#-C#)->(F#m-Bm)->(E-A) and notice that inverses the resolutions E7->A and A7->D
If this progression is modified to ((major-major -minor -augmented) then it fits to the Harmonic minor scale, in other words
D->C#->Bm->Aaug
We may create chord progressions over the sub-scale with semitone distances 2-2-1, not only by the roots of t he chords but also by the middle notes of the chords E.g. the sub-scale e4, d4, c4, b3
is a descending form of 2-2-1, in other words 2-2-1, and the next chord progression has these notes as middle notes
C->Bm->Am->G. We may compare it with the Andaluzian cadenza which has these notes as roots
Em->D->C->B7 . And we ma even combine these two chord progressions in one
C->Bm->Am->G->Em->D->C->B7(Bm).
We may also create a chord progression which has these notes as dominant highest notes
Am->G->F->E, and then we may combine all of them to
Am->G->F->Em->C->Bm->Am->G->Em->D->C->Bm
A4) CHORD PROGRESSIONS ON THE TETRA-CHORD 3-2-2
We state also ascending progressions with roots of the chords on the pentatonic tetra-chord 3-2-2 (minor-major-minor-major) and also its double form.
E.g. Am->C->Dm->E
(Em-Am)->(G-C)->(Am-Dm)->(B-E)
The descending 3-2-2 (major-minor-major-minor)
E->Dm->C->Am and its double form (B-E)->(Am-Dm)->(G-C)->(Em-Am)
The descending and accelerating 3-2-2 (minor-major-major-major)
Em->D->C->A or Am->G->F->D or Dm->C->Bb->G etc
And the ascending pentatonic tetra-chord 3-2-2 (minor, major ,major or minor ,major)
E.g. in its double form
(Em-Am)->(G-C)->(A-D)-> (B-E)
which again reverses the resolution B7->Em or E7->Am by counting the even or odd number of chords. The symmetry of the Andaluzian Cadenza and 7-chords jazz progressions that any two successive chords , except one are in the cycle of 4ths does not hold here.
A5) CHORD PROGRESSIONS ON THE TETRA-CHORD 2-2-3
There is also the descending form 2-2-3 (major-minor-major-major)
and the ascending form of the pentatonic tetra-chord 2-2-3 (major-major-major or minor-major)
E.g. in double form (E-A)->(F#-B)->(G#m-C#m)->(B-E)
which again reverses the resolution B7->E or E7->A,by counting the even or odd number of chords. The symmetry of the Andaluzian Cadenza and 7-chords jazz progressions that any two successive chords , except one are in the cycle of 4ths does not hold here.
and the ascending 1-2-3 (minor-major-minor-major).
E.g. in double form (Em-Am)->(F-Bb)->(Gm-Cm)->(Bb-D#)
A6) CHORD PROGRESSIONS ON THE TETRA-CHORD 5-2-3
Descending 5-2-3 ( major-minor-major-major).
we compare with other ascending progressions e.g. based on the tetra-chord 2-2-2 (major-major-major (or minor)-major) and also it double form
E.g. (F-Bb)->(G-C)->(Am-Dm)->(B-E) or (F-Bb)->(G7-C)->(A7-D)->(B7-E)
Finally the ascension based on 1-3-1 (minor-major-major-minor) and its double form
E.g. (Em-Am)->(F-Bb)->(Gm-Cm)->(G#-C#)
Actually inside the harmonic minor scale the chord types could be any of the next
(major or augmented, --minor or diminished or major ,-- augmented or diminished, --minor)
All of the previous , are majorization methods, in other words rendering of progressions of minor chords to progressions of major chords and inversions of resolutions
Notice that from all the previous progressions only the descending on diatonic tetra-chord 1-2-2, or Andalusian Cadenza , descending 2-2-1, the 7-chord Jazz progression and the ascending on the pentatonic tetra-chords 3-2-2, and 2-2-3 progressions , inverse the standard dominant resolutions.
A7) CELTIC, IRISH MUSIC PROGRESSIONS
In Irish music is often used a chord progression that on the roots it is 3-7-7 or within an octave
3-2-3 and can be of any type od chord major or minor. E.g. Am-Cmaj7-G-D
see e.g. https://www.youtube.com/watch?v=FY1BYAyMeSk
and https://hspeek.home.xs4all.nl/dadgad/theory.html
Since accordingto the previous document the Irish music is palyed mosr often in D major and G major, the relevant chords will be D, Em, F#m or F#dim , G, A, Am, Bm, C#m or C#dim.
While being in D natural minor means it is in Fmajor so the chords would be
F, Gm, Am, Bb, C, Dm, Edim (often Em)
If on the other hand the ancient Irish music was mainly on the pentatonic scale
C, D, E, G, A (2-2-3-2-3) and its 5 modes
(See e.g. http://www.libraryireland.com/IrishMusic/IV.php )
then in modern 7-notes scales it would take the next chords only
C, Dm, Em, G, Am
and if played strictly in the pentatonic scale the best chords would be
C, D5, G5, Am
and if starting from D it would be
D, E, F# , Bb , C with chords D, E5, Bb5, Cm
or if starting from G
G, A, B, D , E with chords G, A5, D5, Em
A8) JAZZ STANDARD 3-CHORD PROGRESSION ii-V-I
e.g. Dm->G7->C
This progression is a key one! It is the passage or bridge from the triad of minor chords (sadness) of a diatonic scale (e.g. of C major it is Em, Am, Dm) to the triad of major chords (joy , happiness) of the diatonic scale (e.g. from the C major scale it is G, C, F). The passage is the triad sequence Dm7 G7 C.
(It is very close of course to the progression by 4ths D7, G7, C).
A9) FOLK SPANISH ,FLAMENCO ,PORTUGUESE, ITALIAN AND AFRICAN MUSIC PROGRESSIONS
Here we take to relative chords on minor one major e.g. Em, G and we put in front of them a major dominant 7th that resolves on them here e.g. (B7->Em)->(D7->G) or
(A7->Dm)->(C7->F) etc More generally (met also in folk Italian songs) we may take any 3 (or even 4 or more ) chords of the diatonic scale R1, R2, R3 and put in front of them a major dominant 7th that resolves on them e.g. R1=C, R2=Dm, R3=F and make the progression
(G7->C)->(A7->Dm)->(C7->F)
Each of the dominant resolutions (X7->Y) may be repeated many times before we go to the next pair.
See e.g. the traditional song Oili Oila https://www.youtube.com/watch?v=dWozo7ivybg
Or for example if we take 4 or more chords outside a single diatonic scale but in the cycle of 4ths
e.g. Em, Am, Dm, Gm and we apply the same rule we get the pogressions
(B7-> Em)->(E7-> Am)->(A7-> Dm)->(D7-> Gm)
In addition we may interpolate in the above sequence an Andalusian cadenza that invesres the resolution of the pair! (e.g. The B7-> Em is reversed by the Andalusian Cadenza Em-D-C-B7) The results is a magnificent and very beautiful psychologically harmony!
See e.g. the African song "Free" performed by Steve Wonder
https://www.youtube.com/watch?v=C5pX7oZ747w
Examples of monotone chord progressions e.g. in songs of cabo verde and other latin music are the
1) Resolutions on a pair of relative chords. Resolutions to two relative chords one minor one major. E.g. Here the two relative chords are the G, and Em, and the resolutions are B7->Em, and D7->G, So in total the repeating progressions is (B7->Em) n times then -> (D7->G) n-times or
(B7->Em-> D7->G) n-times
or starting from a different chord E7->A->Db->F#m
1.1) Conversely we may have the Relative resolution-pairs (see also 4) below).
If we have a resolution-pair e.g. by minors Am->Dm, then the relative major resolution is the C->F, The we may set all these four chords in a cycle e.g.
Dm->Am->F->C->Dm. Or Em->Bm->G->D->Em
Augmented chord interpolation: Some times passing from a chord A to another chord B we may interpolate an augmented chord which is the previous in the wheel of 4ths to B but augmented. E.g. in going from to Em to G we may interpolate the Daug so in total Em->Daug->G or in going from F to Am we may interpolate the Eaug, so in total F->Eaug->Am,
2) Pair of complementary chords. Resolutions to two complementary chords one minor one major. E.g. Here the two complementary chords are the G, and Am, and the resolutions are D7->G, and E7->Am, so in total the repeating progressions is (E7->Am) n times then -> (D7->G) n-times or
(E7(Bdim7)->Am-> D7->G) n-times
Or staring from a different chord it could be e.g.
(B7->E-> Db7(Bdim7)->F#m) n-times
or E7->A->F#7->Bm
etc
We may also combine 1) and 2) E.g. first complementary pair E7->A->F#7->Bm and then pair of relatives E7->A->Db->F#m, so in total we may chave the progression
E7->A->F#7->Bm->E7->A->Db->F#m->B7->E repeating as cycle of chords The latter can be conceived also as two pairs of complamentary chords the A-Bm and E-F#m so we may group its as follows
(E7->A->F#7(Gdim7)->Bm->E7->A)->(Db->F#m->B7->E) n-times
Or starting from G it would be
(G7->C->A7(Gdim7)->Dm->G7->C)->(E->Am->D7->G) n-times
We notice that the pairs of complementary chords C-Dm and G-Am are in successive resolutional relation, that is why the total progressions is so well fitting.
And this progression may be endowed with repeating melodic pattern which occupies the transitions of the chords E7->A, F#7->Bm, Db->F#m,B7->E, different pairs of chords still the same pitch dynamics patterns which shifts of course to fit the chords.
Starting from D it would be
(D7->G->E7(Bdim7)->Am->D7->G)->(B7->Em->A7->D) n-times
Starting from D it would be
(D7->G->E7(Bdim7)->Am->D7->G)->(B7->Em->A7->D) n-times
An example of such a song is the next Capullito De Alheli
3) Pair of successive resolution chords. Resolutions to two successive resolution chords one minor one major. E.g. Here the two successive resolution chords are the E7, and Am, and the resolutions are B7->E, and E7->Am, so in total the repeating progressions is (B7->E) n times then -> (E7->Am) n-times or
(B7->E-> E7->Am) n-times
4) Pair of successive resolution chords substituted with relatives. Resolutions to two successive resolution chords . E.g. Here the two successive resolution chords are the G7, and C, and the substitutions are G7->Em, and C->Am, so in total the repeating progressions is (G7->Em) n times then -> (C->Am) n-times or
(G7->Em-> C->Am) n-times
ETC (more such examples and cases of repeating pairs of chords can be listed)
A10) MINOR OR MAJOR 3-CHORD CYCLE IN FOLK SONGS
This a progression of 3 minor or 3 major chords R1 R2 R3 so that each one resolves to the next in the cycle of 4ths e.g. Em->Am->Dm or G->C->F.
Obviously it is used minor chords in the cycle in the sad part ofthe song and major chords in the cycle in the happy part of the song. The transition sad-> happy we often call the process of majorization
The diatonic progressions is the sequence (iii->vi->ii->V->I->IV->VII->iii), This progression leadsfrom sadness to joy, from the triad of minor chords to the triad of major chords. In the symbolism of the 24-cycle of chords the diatonic scale is the arc of the next chords (x-2, X-1,x-1,X,x,X+1,x+1)=(vii,V,iii,I,vi,IV,ii). (see post 34)
There is also the inverse or descending diatonic progression which is the (I->V->ii->vi->iii->VII->IV->I)
In a diatonic scale, the triad of minor chords (sad triad) is the (iii->vi->ii) where the (iii, vi) and (vi,ii) are consecutive in the cycle of pure 4ths, with standard resolutions (iii7-> vi) , (vi7->ii) and the
(ii, iii) are complementary chords, in other words all of their notes give all the notes of the scale except one.
The triad of joy or triad of major chords is the (V, I, IV) , where the (V, I) and (I,IV) are consecutive in the cycle of pure 4ths, with standard resolutions (V7-> I) , (I7->IV) and the (IV, V) are complementary chords, in other words all of their notes give all the notes of the scale except one.
The bridge between these two triads is the well known jazz progression (ii7, V7, I) , where again the (ii, V) and (V,I) are consecutive in the cycle of pure 4ths, with standard resolutions (ii7-> V) , (V7->I), and the (ii, I) are complementary chords, in other words all of their notes give all the notes of the scale except one.
Alternative closures
The diatonic progression closes also to a cycle by utilizing the triad progressions
(IV->IV#7->VII7->iii) or (IV7->VIIb->vi).
HERE IS THE 24-CHORDS CYCLE IN THE REVERSE ORDER BY 5TH RATHER THAN BY 4TH WHICH IS THE ACTUAL
GENERAL RULE FOR GYPSY JAZZ CHORD PROGRESSIONS:
By substituting in the chord progressions of a nice ethnic song , some of the minor chords Xm with minor-6th , Xm6 (=dim+min) and some of the dominant major chords Y7 with major-6th chords Y6(=Zm7, for relative minor chord Zm) we get a standard Gypsy flavor (which is minor and diminished oriented flavor, in other words bitter-sweet or sad) . Then of course all the soloing parallel to the chords as it should contain the arpeggios of these chords with 6th would sound more minor and melodic, and often it will integrate to the harmonic minor and harmonic double minor scale (See post 50). If we utilize 4-double strings instruments (see post 67) , then all the shapes of the chords with 6th are those of the D6, A6, E6 , Dm6 ,Am6, Em6 only on the last 4 strings and the playing of Gypsy jazz is greatly simplified! Similarly soloing parallel to such chords is also easier, except that a separate bass player with a bass instrument would be required. So e.g. the jazz chord progression IIm-V-I will become IIm6-V6-I . This 3-chords progressions may be varied also to IIm-(V7)-Vb7-I7-I6) or it may be varied to
IIm-VIIb7-V7-I or IIm-VIIb7-VII7-I (or sliding from VIIb to I)
Other embellishments of this progressions are described in the next video
https://www.youtube.com/watch?v=jkXwzXieMho
GENERAL RULE FOR ETHNIC JAZZ CHORD PROGRESSIONS
As in the case of Gypsy Jazz that we substitute some chords minor or major with same chord by with 6th, we may set here a similar general rule: We substitute in the standard resolution X7-(X+1)7 in the wheel of 4ths (E.g. X7-B7, (X+1)=E ) the X7 with Xaug, So the resolutions is Xaug-> (X+1) E.g. Instead of B7-> the Baug->E or Instead of D7->G the Daug->G. We may even have both that is we add the Xaug, So in total we may have X7->Xauf->(X+1). E.g. B7->Baug->E. The same applies even if the chords are minor. Augmented chords sound like double minors ! Therefore a resolution Daug->Gm is a resolution from double minor (double sadness to simple minor Gm (simple sadness).
As in the case of Gypsy Jazz that we substitute some chords minor or major with same chord by with 6th, we may set here a similar general rule: We substitute in the standard resolution X7-(X+1)7 in the wheel of 4ths (E.g. X7-B7, (X+1)=E ) the X7 with Xaug, So the resolutions is Xaug-> (X+1) E.g. Instead of B7-> the Baug->E or Instead of D7->G the Daug->G. We may even have both that is we add the Xaug, So in total we may have X7->Xauf->(X+1). E.g. B7->Baug->E. The same applies even if the chords are minor. Augmented chords sound like double minors ! Therefore a resolution Daug->Gm is a resolution from double minor (double sadness to simple minor Gm (simple sadness).
A11 . 1st general rule for harmonic chord progressions: Progressions by arcs in the 12-chord cycle by intervals of 4th
This cycle defines by every connected arc of it a chord progression , where a chord may be substituted with its same root relative major or minor chord , or its lower or upper minor relative chord. Of course as they are an arc of the above 12-cycle they are successive chords or in the harmonic relation of resolution.E.g. B7->Em->Am->D7->G->Bm-> etc
Or B7->Em->Am->D7->G->C->(Am orA7)->D7 etc
E.g. The well known song of Frank Sinatra "Fly me to the moon" is using this technique in its sequence of chords
https://www.youtube.com/watch?v=U8zvLvfUzCQ
Another example is the song of Nat King Cole L.O.V.E.
(main arc is the (Em or E7)->A7->D7->G(or Bm or Gm7) ->E7 etc with backwards retraces by one chord)
https://www.youtube.com/watch?v=cZ4TfRt1NK0&list=PLCD6F28C13A0A9AC2&index=12
Such arcs of the 12-chords wheel of 4ths can be considered as cycles, if the end-chord links with the beginning-chord with what maybe called a mutation. And there are mainly two mutations a) the relatives chords mutation that gives small cycles of 4 chords and b) the chromatic mutation that gives cycles of 6 chords. Here we present some examples that have a center of 3-major chords that we return in it. Many country music songs follow such chord progressions. But also many songs of Latin music of Andes follow such chord progressions. Also the songs of the famous Greek composer Theodorakis follow such chord progressions. The chromatic mutation may be at the last two chords in which case we get a double Andalusian cadenza
1) The minimal 3-chords cycle.
This is 3 successive chords in the wheel of 4ths
e.g. G->C->F->G
or Em->Am->Dm->Em.
1) The minimal 3-chords cycle.
This is 3 successive chords in the wheel of 4ths
e.g. G->C->F->G
or Em->Am->Dm->Em.
Slight enlargement to this is the Small 4 chords cycles of relatives mutation (by // we denote the relatives mutation)
Examples: A->D->G//Em or D->G->C//Am or G->C->F//Dm
2) Medium 6 chords cycles of chromatic mutation (by // we denote the chromatic mutation)
Examples: A->D->G//F#->Bm->E or A->D->G//F#->B7->Em
or A->D->G->C->F->Bb//A
D->G->C//B7-> Em->A7 or D->G->C//B7-> E->Am
G->C->F//E7->Am->D or G->C->F//E7->A->Dm
o
(Notice here that if we would restrict to a diatonic scale the cycle G->C->F//E7->Am->D or G->C->F//E7->A->Dm would be
G->C->F//Em7->Am->Dm .
This cycle can be extended to an 8-cycle in the following way:
The 6-cycle A->D->G->C->F->Bb//A can be extended to the 8-cycle
A->D->G->C->F->Bb->D#->Edim7->A
or the A->D->G//F#->Bm->E will become A->D->G->C->C#dim7->F#->Bm->E
With double chromatic mutation we have the progression 7-chords cycles
A->D->G//C#->F#->Bm->E or D7->G7->C7->F7->Bb//E7->A7, which also can be alternating in minor major: Dm7->G7->Cm->F7-<Bbm//E7->Am7 or D7->Gm7->C7->Fm7-<Bb//E7->Am7 etc.
See also the double Andaluzian cadenza above and the standard Jazz 7-chords progression
So the suggested cycles already contain a modulation that combines e.g. two diatonic scales o a diatonic and a harmonic minor etc, and is necessary so as to have 2/3 or more major chords in the chord progression. So the rule is: The 2/3 rule of major chords in the chord progression of 6 chords necessarily involves modulations, and cannot be conducted within a single diatonic scale!!!
C->F->Bb//A7->Dm->G or C->F->Bb//A7->D->Gm
etc.
Notice that an alternating even only or odd only sequence of chords in such 7 chords cycles with double chromatic mutation gives the Andaluzian cadenza and Jazz 7-chords progression.
Example of beautiful chord progressions that one can obtain with the above 6 or 7 chords cycles are the next with the next rules
1) All chords are from the above 7-cycle cycle with chromatic mutation and are with 7th chords
2) Any two successive chords are either successive in the above cycle ( that is successive in the wheel of 4th too or are in chromatic 1 semitone relation) or are relative chords, or inverses in order in the above relations
3) All successive chords alternating are minor then major or major then minor.
4) There is a starting and ending pair of chords which is successive in the wheel of 4ths and are both major chords.
An example of a chord progression with the above rules is the next
C7 F7 Bbm A7 Dm7 D7 Gm7 C7 Am7 D7 Gm7 C7 Am7 Bbmaj7 A7 Dm7 D7 Gm7 C7 Am7 F7 Dm7 A7 Am7 D7 Gm7 C7 F7.
When playing such chord progressions we may move slowly all the way up and then all the way down in th fretboard.
3) Full 12 chords cycle: A->D->G->C->F->Bb->D#(=Eb)->G#(=Ab)->C#(=Db)->F#->B->E
where at most 1/3 that is at most 4 chords can be minor chords.
A12 . 2nd general rule for harmonic chord progressions: Two arcs in the 12-chord cycle by intervals of 4th (substituting any of the chords with its minor if it is major or vice versa) that have distance at the closest ends either 1 , or 2 or 3 or 4 or 6 semitones!
E.g. D7->G ,(1 semitone apart) Db7->Fm
or A7->D (1 semitone chromatic) G#7->Cm
or D7->G (1 semitone chromatic) C#7->F#m
or C7->F (1 semitone chromatic) B7->Em
or D7->G, (2 semitones apart) E7->Am
or E7->Am-> F#7->Bm (E7, F#7 2 semitones apart)
or D7->G , (3 semitones apart) B7-> Em
or F-> Bb -> A7-> Dm or F#7->B7-> E or D7->G->F#7->Bm
or F-> Bb-> E7-> A or G7->C-> F#7->B
or Am->D7->G, (1 semitone apart ) F#7->B7->Em
or Am Dm G7 C F (6 semitones apart) , B7 Em
or Dm Gm C F A# (6 semitones apart) E7 A7
or Em (E7) ->Am (A7)-> D7-> G-> C->(6 semitones apart) F#7-> B7
e.g. in the valse indifference
https://www.youtube.com/watch?v=pph5IOXWlHU
or G7 C F#7 B ( or Bm)
or F Bb E7 A (or Am)
or C F B7 E (or Em)
When playing such chord progressions we may move slowly all the way up and then all the way down in th fretboard.
A13 3rd general rule for harmonic chord progressions:
We may define the HARMONIC 2 OCTAVES , 7 NOTES SCALE of 7 notes that spans 2 octaves, and every 3 or 4 successive notes is a chord of the above types
Here it is (STARTING FROM THE C3)
etc -C3-E3-G3-B3-D4-F4-A4-C5- etc (all steps intervals of 3rds)
As a structure of intervals over semitones it is the next sequence
-4-3-4-3-3-4-3-
And the sequence of 3-notes chords , by successive 3 notes in this scale is the chord progression
C->Em->G->Bdim->Dm->F->Am
Such a sequence of relative chords alternating minor and major is a standard harmonic chord progression! And it can be extended up to 24 steps
Again we have 3 sizes of sub-cycles in the wheel by 3rds:
1) The minimal cycles of 3-chords
e.g. G->Em->C or Em->C->Am etc
2) The middle size of 6-7 chords
e.g. G->Em->C->Am->F->Dm// G
Here the mutation // is simply the resolutional relation or successive chords in the wheel by 4ths.
3) The large cycles of 12-24 chords
e.g. G->Em->C->Am->F->Dm->B->Gm->E->Cm->A->Fm->D->Bm->G
or a full cycle like the next
G C F Bb Eb Ab Db Gb B E A D
Em Am Dm Gm Cm Fm Bbm Ebm Abm Dbm Gbm Bm
Again as with the wheell by 4ths and the 3 sizes subcycles the next rules may derive beautiful chord-progressions cycles for improvisation
When playing such chord progressions we may move slowly all the way up and then all the way down in th fretboard.
A14 4TH GENERAL RULE FOR MELODIC CHORD PROGRESSIONS: Chord progressions that contain all the 12 notes of the chromatic scale:
Examples
G-> F#7->B7->Em(OR E7) ->C->B7->E7->Am(OR A7) ->F->E7->A7->Dm (Or D7).
As a general rule if in the chords of a diatonic scale, we include besides all minor their relative major (e.g. besides Em, Am, Dm, also E, A, D) and also the major at root with dominant 7th (here C7) , we get all the necessary sharps and flats so as to cover all 12 notes of the chromatic scale.
Here is an example of a song that its soloing covers all the 12 notes of the chromatic scale : (Indifference by Tony Murena, a Gypsy jazz song which is nevertheless an old Sicilian waltz!)
https://www.youtube.com/watch?v=pph5IOXWlHU
A15 5TH GENERAL RULE FIR GOOD CHORD PROGRESSIONS
Chord progressions that two successive chords are always either
1) an interval of 4th , that is successive n the wheel of 4ths
2) Relative chords where major turns to minor and vice-versa, thus roots-distance an interval of 3rd 3) Chromatic relation , in other words the roots differ by a semitone
are best chord progressions for parallel translations of melodic themes by intervals of octave, 4th-5th, 3rd and semitone.
Example
C-> Am->Dm_->G->C->F->Dm->Dm7->G7->C etc
ARPEGGIOS AND DEA SYSTEM OF 4-STRING INSTRUMENTS (SEE POST 67) FOR SUCH CHORD PROGRESSIONS:
For the 4-string (double or simple strings) instruments of post 67, that are most of the ethnic music instruments , the chord shapes theory simplifies to the DEA instead of the CAGE of the 6-string guitar. Similarly the arpeggios of the chords, although are not identical with the shapes of the chords in a 6-string guitar, for the above 4-string instruments , they are identical with the chord shape! Thus knowing the chords means knowing their arpeggios of them too, which gives immediately a way of easy improvisation along a chord progression! The randomness is double a) in the choice of the chord progressions as above , in particular the chord transitions as described b) in the choice of the way to play soloing inside the arpeggio of such chords in particular the melodic themes 4 transformations.This is easiest done with the 4-string instruments of the ethnic music (see post 67) . Such arpeggios can be extended to contain the 6th and 7th thus being arpeggios of the chord as with 6th or 7nth (Notice that 6th are identical with minor 7ths X6=Ym7 and Xm6=Ym7b5, where X and Y are a minor 3rd apart as in relative chords). Some times extended so as to contain the chord with 2nd or 4th too. The transformations of the melodic themes, (see post 76) and in particular the 4 basic translations, inversions, rhythm variations and melodic density expansion or contraction can be conducted with a mini 4-or-5-notes-scale when a chord is playing which its arpeggio or extended 6th or 7th arpeggio! In this way the melody always remains in accordance with the underlying chord and chord progression. Thus arbitrary such 3-types of chord transitions as above and arbitrary such 4 transformations of melodic themes will result in to a rich , free but well harmonic and melodic improvisation and composition!
Here is also the concept of re-harmonization of the chord progression:
https://www.youtube.com/watch?v=80ZlQ0iTY_g
And the sequence of 3-notes chords , by successive 3 notes in this scale is the chord progression
C->Em->G->Bdim->Dm->F->Am
Such a sequence of relative chords alternating minor and major is a standard harmonic chord progression! And it can be extended up to 24 steps
Again we have 3 sizes of sub-cycles in the wheel by 3rds:
1) The minimal cycles of 3-chords
e.g. G->Em->C or Em->C->Am etc
2) The middle size of 6-7 chords
e.g. G->Em->C->Am->F->Dm// G
Here the mutation // is simply the resolutional relation or successive chords in the wheel by 4ths.
3) The large cycles of 12-24 chords
e.g. G->Em->C->Am->F->Dm->B->Gm->E->Cm->A->Fm->D->Bm->G
or a full cycle like the next
G C F Bb Eb Ab Db Gb B E A D
Em Am Dm Gm Cm Fm Bbm Ebm Abm Dbm Gbm Bm
Again as with the wheell by 4ths and the 3 sizes subcycles the next rules may derive beautiful chord-progressions cycles for improvisation
1) All chords are from the above 7-cycle cycle with mutation and are with 7th chords
2) Any two successive chords are either successive in the above cycle ( that is successive in the wheel by 3rd too or are in chromatic 1 semitone relation) or are successive in the wheel by 4th chords, or inverses in order in the above relations
3) All successive chords alternating are minor then major or major then minor.
4) There is a starting and ending pair or triad of chords which is successive in the wheel of 4ths and are all major chords.
When playing such chord progressions we may move slowly all the way up and then all the way down in th fretboard.
A14 4TH GENERAL RULE FOR MELODIC CHORD PROGRESSIONS: Chord progressions that contain all the 12 notes of the chromatic scale:
Examples
G-> F#7->B7->Em(OR E7) ->C->B7->E7->Am(OR A7) ->F->E7->A7->Dm (Or D7).
As a general rule if in the chords of a diatonic scale, we include besides all minor their relative major (e.g. besides Em, Am, Dm, also E, A, D) and also the major at root with dominant 7th (here C7) , we get all the necessary sharps and flats so as to cover all 12 notes of the chromatic scale.
Here is an example of a song that its soloing covers all the 12 notes of the chromatic scale : (Indifference by Tony Murena, a Gypsy jazz song which is nevertheless an old Sicilian waltz!)
https://www.youtube.com/watch?v=pph5IOXWlHU
A15 5TH GENERAL RULE FIR GOOD CHORD PROGRESSIONS
Chord progressions that two successive chords are always either
1) an interval of 4th , that is successive n the wheel of 4ths
2) Relative chords where major turns to minor and vice-versa, thus roots-distance an interval of 3rd 3) Chromatic relation , in other words the roots differ by a semitone
are best chord progressions for parallel translations of melodic themes by intervals of octave, 4th-5th, 3rd and semitone.
Example
C-> Am->Dm_->G->C->F->Dm->Dm7->G7->C etc
ARPEGGIOS AND DEA SYSTEM OF 4-STRING INSTRUMENTS (SEE POST 67) FOR SUCH CHORD PROGRESSIONS:
For the 4-string (double or simple strings) instruments of post 67, that are most of the ethnic music instruments , the chord shapes theory simplifies to the DEA instead of the CAGE of the 6-string guitar. Similarly the arpeggios of the chords, although are not identical with the shapes of the chords in a 6-string guitar, for the above 4-string instruments , they are identical with the chord shape! Thus knowing the chords means knowing their arpeggios of them too, which gives immediately a way of easy improvisation along a chord progression! The randomness is double a) in the choice of the chord progressions as above , in particular the chord transitions as described b) in the choice of the way to play soloing inside the arpeggio of such chords in particular the melodic themes 4 transformations.This is easiest done with the 4-string instruments of the ethnic music (see post 67) . Such arpeggios can be extended to contain the 6th and 7th thus being arpeggios of the chord as with 6th or 7nth (Notice that 6th are identical with minor 7ths X6=Ym7 and Xm6=Ym7b5, where X and Y are a minor 3rd apart as in relative chords). Some times extended so as to contain the chord with 2nd or 4th too. The transformations of the melodic themes, (see post 76) and in particular the 4 basic translations, inversions, rhythm variations and melodic density expansion or contraction can be conducted with a mini 4-or-5-notes-scale when a chord is playing which its arpeggio or extended 6th or 7th arpeggio! In this way the melody always remains in accordance with the underlying chord and chord progression. Thus arbitrary such 3-types of chord transitions as above and arbitrary such 4 transformations of melodic themes will result in to a rich , free but well harmonic and melodic improvisation and composition!
Here is also the concept of re-harmonization of the chord progression:
https://www.youtube.com/watch?v=80ZlQ0iTY_g
